How did Buddy get this chord?

[Scott Denniston]

I was listening to Buddy's "Blue eyes" (Elton John tune)instrumental and was confounded about how he got a couple of the melody chords. I listened about a hundred times and even ordered a course with the tab. I'm glad I ordered it because there's a whole bunch of stuff on that course including Blue Eyes that will improve my playing. Anyway I suddenly realized "...you dummy it was early 80's and was probably double-tracked that's how he got it! I just ordered it today so we'll see. Anyway It's just exquisitely beautiful harmony.

[Erv Niehaus]

Did he play that on the E9th neck or the C6th neck?
I have it tabbed out for E9th.
Erv

[Roger Rettig]

E's 'Blue Eyes' is on E9.

[Scott Denniston]

It's on the cd course "We're Steel Swingin" available from North County Steel. I had already ordered the cd off Ebay used but didn't save anything considering shipping from Canada. This stuff is rare.

[Roger Rettig]

If memory serves me, I don't think there's anything in the steel part that needs double-tracking. I'm not saying he didn't for an effect, but it's all playable at one pass (if you know where it is).

Credit must go to Elton John for that out-of-the-box chord sequence in the turnaround. It's clever stuff. Buddy's version is exquisite.

That period ('80s?) was when I thought he was getting the best tone of his career, and that's saying something.

[John McClung]

Is there a video of Buddy playing Blue Eyes on YouTube or elsewhere?

[scott murray]

can't find Buddy's version but here's our pal Ernie Renn doing Buddy's version
https://youtu.be/g7mOpphwJfs

[John McClung]

can't find Buddy's version but here's our pal Ernie Renn doing Buddy's version
https://youtu.be/g7mOpphwJfs

Thanks, Scott!

[Scott Denniston]

Yeah Scott thanks. I thought I'd looked everywhere. That's even great without all the instrumentation Buddy had on his. Buddy's tone on that will make a grown man cry.

[Roger Rettig]

Here's Buddy playing 'Blue Eyes' in England in 1988.

The whole set is, of course, worth watching but the song in question starts at around 12' 30". Unfortunately, the cameraman chose to dwell on other band members at key moments but, for what it's worth, here it is.

https://www.youtube.com/watch?v=tPxxslUQcgc

[Chris Sattler]

He makes use of splits on the sixth string. Very clever as usual.

[Ron Funk]

Hi Roger Rettig (hope you're doing well)

That highly effective (yet very simple) intro / turnaround you refer to is a measure of Bb, to a measure of F... and the measure of F also contains the first few notes of the melody of the song.

Buddy begins at the 6th fret with A pedal engaged - playing strings 5, 6 and 9.....and then slides (sustain only - no picking) from 6th fret with A pedal engaged to the 9th fret, with A pedal still engaged and lowering the 9th string ...then into the measure of F, via 'closed F chord' at 8th fret w/A&B pedals....and picking the first few melody notes...then going into a F minor chord at 4A.

Perhaps that's the chord & playing positions 'the OP' is looking for.

plus, let's not forget BE's knowledge of playing the Bass guitar, so any BE chord that's presently got us stymied might be BE 'playing off' the root note supplied by the Bass guitar....

Hope the above might help -

Ron

[Ricky Davis]

Yes it's a moving 13Chord; like Ron just explained. I use it a lot...> The moving 13 chord, A pedal in and out; move up the neck in minor3rd's(3 frets upward) or whole tone(2 frets downward) It's a great Augment substitution.
Ricky

[Scott Denniston]

Thanks guys! Your explanations and then watching Buddy do it I can see. I'm still looking forward to that course. If I can get it really smooth I'll give a whack at recording it on my Dekley. I suppose I should get the mechanical rights from Harry Fox agency. I've never done any of that but I assume I should. I wouldn't be making anything off it but I guess it doesn't cost much either.

[Roger Rettig]

Ron F.:

Doing better than I deserve: thanks for asking!

What I'm calling the turnaround is the section half-way through the song, that group of descending chords where the time-signature changes.

2/4 bar: F / : 2/4 bar: Eb G# : 3/4 bar: F# Fm (then it's back to 4/4 for the Eb. After that, he returns to the top of the head (Bb ///|F / Fm /| etc....)

That is the pretty part for which credit is due to Elton (in my opinion). Those changes can fool you; they're a bit off-the-wall.

[Chris Sattler]

Roger, that is the part where he uses the split on the 6th string. I would never have thought of it.

[Roger Rettig]

I'm not sure, Chris; I get it slightly differently as I don't have the 6th string lower (I choose to raise the 7th instead).

I may have a closer listen. It's an interesting point.

[Chris Sattler]

Of course,there are numerous ways to play notes on the Steel. That's the beauty and frustration of it. Buddy's tab uses splits. My zum doesn't have split screws (yet) so I have to either do a little bar slat or find other positions. Neither are better than Buddy's split.

[Roger Rettig]